My recent research and creative scholarship investigate how meaning, authorship, and value operate in conditions of extreme creative abundance. Over a five-month period, I produced more than seventy-five web-based works using contemporary rapid-development and AI-assisted workflows. These works include browser-based games, creative utilities, interactive visual systems, tabletop and video game adaptations, and translations of 1980s BASIC programs into modern web contexts. Collectively, this body of work functions as a sustained inquiry rather than a series of discrete projects.
The central research question guiding this practice is: What happens to creative value and authorship when the temporal and technical barriers to making are radically reduced? Historically, digital art and web-based creative practice were constrained by limited tools, slower pipelines, and higher technical friction. During the Flash era, in which my early work was situated, interactivity often required weeks or months of development, and finished artifacts were encountered as singular, highly visible objects. In contrast, contemporary tools enable near-instant translation from idea to execution, fundamentally altering how creative labor is perceived and evaluated.
Rather than resisting this shift, my research inhabits it. I deliberately work at speed, using repetition and volume as methodological tools. Each web app is treated as a trace of thinking rather than a finalized product. The accumulation of works forms a longitudinal self-study of creative decision-making under post-scarcity conditions. Quantity, in this context, becomes evidence of process, allowing patterns, habits, and conceptual preoccupations to emerge over time.
This practice is situated at the intersection of digital art, game design, human-computer interaction, and pedagogy. Many of the projects explore nostalgia, translation, and play, particularly through the reinterpretation of early computing and tabletop systems. Others function as creative utilities that externalize cognitive processes such as ideation, categorization, and visual exploration. Together, they test the capacity of the browser not only as a delivery platform but as a site of ongoing research.
An essential component of this scholarship is its public-facing nature. The works are released through the online platform jvision.games, which operates as an open studio, archive, and pedagogical resource. The site does not privilege individual projects but presents the body of work as an evolving field of inquiry. Viewers are not expected to consume the entirety of the output; instead, they are invited to witness a sustained practice unfolding in real time.
This research directly informs my teaching as a Professor of Digital Art and Design. The methodologies developed through this practice underpin course frameworks that emphasize rapid iteration, reflective documentation, and creative production as research. Students engage with the same questions of speed, authorship, and value, learning to articulate intent and meaning in an environment where traditional markers of effort are increasingly unstable.
Ultimately, this body of work argues that creative scholarship in the contemporary web must account for conditions of abundance rather than scarcity. By foregrounding process, persistence, and reflection, my practice proposes an alternative model of value rooted not in singular outcomes but in sustained, intentional engagement.